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Pablo Picasso

PUBLISHED IN: Videos

Montana Alexander, Partner – Heather James Fine Art discusses two paintings by Pablo Picasso

Available works by Pablo Picasso

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An exemplary work from Picasso’s Neo-Classical period, La communiante avec missel belongs to a rare series. Picasso revisited the theme of children receiving communion a few times and in a few styles, from this solemn classic version to the dynamic fragmentation of Cubism. A Neo-Classical example comparable to this piece is in the collection of the Musée Picasso in Paris.
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<br>While this time period after World War I saw many artists looking to tradition, a return to order as a reaction against the destruction of war, Picasso’s Neo-classicism was not so much a refuge, but a vehicle by which he could explore new themes and ideas. In La communiante avec missel, we see certain hallmarks of Picasso: the visual weight that the girl carries and the statuesque features of her face. These elements are softened by the curved lines the artist has used for her body and dress. In Picasso’s hands, the painting is a meditation of youth and religion marking the rites of passage.

La Communiante Avec Missel

25 5/8 x 21 1/2 in.

Françoise Gilot was Picasso's muse and lover for nearly a decade beginning in 1946, the year he created this drawing. She became an iconic recurring image in the artist's work, reinvigorating his practice with a sense of joy after the dark period of World War II, and many of these portraits remained in his collection for the rest of his life. Picasso often drew Gilot from memory, thereby rendering her as more of a symbol or an ideal than as a model. As Michael Fitzgerald notes, “Picasso's portraits of Françoise were not drawn from life…unlike in the cases of Picasso's other wives and mistresses, there are almost none that reproduce her features strictly" (Michael Fitzgerald, "A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Françoise Gilot," in Picasso and Portraiture, London, 1996, p. 416). On the significance of Gilot to this period for Picasso, Frank Elgar writes, "the portraits of Françoise Gilot have a Madonna-like appearance, in contrast to the tormented figures he was painting a few years earlier" (Frank Elgar, Picasso, New York, 1972, p. 123).

Portrait de Femme (Françoise)

25 7/8 x 19 7/8 in.

colored wax crayons on paper

PABLO PICASSO - Deux Femmes avec un Vase a Fleurs - linocut printed in color on Arches vellum paper with Arches watermark and linocut printed cream over - State I and II: 24 3/4 x 29 1/2 in. ; state IV: 24 1/2 x 29 1/2 in.; and 25 1/2 x 30 1/2 in.

Deux Femmes avec un Vase a Fleurs

State I and II: 24 3/4 x 29 1/2 in. ; state IV: 24 1/2 x 29 1/2 in.; and 25 1/2 x 30 1/2 in.

linocut printed in color on Arches vellum paper with Arches watermark and linocut printed cream over

Françoise Gilot was Picasso's muse and lover for nearly a decade beginning in 1946, the year he created this drawing. She became an iconic recurring image in the artist's work, reinvigorating his practice with a sense of joy after the dark period of World War II, and many of these portraits remained in his collection for the rest of his life. Picasso often drew Gilot from memory, thereby rendering her as more of a symbol or an ideal than as a model. As Michael Fitzgerald notes, “Picasso's portraits of Françoise were not drawn from life…unlike in the cases of Picasso's other wives and mistresses, there are almost none that reproduce her features strictly" (Michael Fitzgerald, "A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Françoise Gilot," in Picasso and Portraiture, London, 1996, p. 416). On the significance of Gilot to this period for Picasso, Frank Elgar writes, "the portraits of Françoise Gilot have a Madonna-like appearance, in contrast to the tormented figures he was painting a few years earlier" (Frank Elgar, Picasso, New York, 1972, p. 123).

Portrait de Femme (Françoise)

25 7/8 x 19 7/8 in.

colored wax crayons on paper

Pablo Picasso was a prolific draftsman, and his drawings today are ensconced in the canon of Modern art. "Les Dejeuners" (1961) is one of a series of works inspired by Edouard Manet's "Le Déjeuner sur l'herbe" (1863). The work showcases Picasso's remarkable ability to capture the essence of a composition with the minimal use of line.
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<br>Over his several decades-long career, Picasso embraced the concept of paying homage to the great masters of Art History that preceded him. Manet and Rembrandt would emerge as two of his favorite idols. Countless paintings, drawings, and prints were completed using themes from these two artists. The reclining nude female figure in the foreground of "Les Dejeuners" is perhaps a nod to the 1863 painting by Manet, a risqué subject for its 19th-century audience.

10 1/2 x 16 3/4 in.

pencil on paper

PABLO PICASSO - Harpye a Tete de Taureau, et Quatre Petites Filles sur une Tour Surmontee d'un Drapeau Noir - etching on Montval laid paper - 15 1/4 x 19 5/8 in.

Harpye a Tete de Taureau, et Quatre Petites Filles sur une Tour Surmontee d'un Drapeau Noir

15 1/4 x 19 5/8 in.

etching on Montval laid paper

PABLO PICASSO - Original Copper Plate and Engraving from Carmen - copper plate and engraving - 15 x 10 1/4 in.

Original Copper Plate and Engraving from Carmen

15 x 10 1/4 in.

copper plate and engraving

PABLO PICASSO - Original Copper Plate and Engraving from Carmen - copper plate and engraving - 14 1/4 x 11 in.

Original Copper Plate and Engraving from Carmen

14 1/4 x 11 in.

copper plate and engraving

PABLO PICASSO - La Corrida - original color aquatint - 22 1/2 x 28 1/2 in.

22 1/2 x 28 1/2 in.

original color aquatint

PABLO PICASSO - Portrait de Jacqueline - lithograph printed in black, blue, and brown - 26 x 20 in.

Portrait de Jacqueline

lithograph printed in black, blue, and brown

It wasn't until the age of 78 that Pablo Picasso experimented with linoleum cuts, turning them into a major vehicle for artistic expression. Picasso used ochers, browns and blacks, reminiscent of Greek vase painting, as the dominating color scheme , which displays his expressive carving style.
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<br>Artist's Proof signed by hand in pencil, "Picasso" in lower right.
<br>Printed by Arnéra, Vallauris. Published by Berggruen for the deluxe edition of Jacques Prévert's book, " Diurnes", with découpages and photographs by André Villers.
<br>Catalogue reference: Bloch 1062

Seated Female Nude, from "Diurnes"

21 1/2 x 17 in.

linocut in colors on paper

PABLO PICASSO - Couple au bord de l'eau - drypoint on Arches laid paper - 9 3/8 x 12 in.

Couple au bord de l'eau

drypoint on Arches laid paper

PABLO PICASSO - Peintre avec Modele Barbu Assis sur une Chaise - aquatint with scraper and drypoint printed on wove Richard de Bas with Auvergene watermark - 12 3/4 x 17 7/8 in. in.

Peintre avec Modele Barbu Assis sur une Chaise

12 3/4 x 17 7/8 in. in.

aquatint with scraper and drypoint printed on wove Richard de Bas with Auvergene watermark

PABLO PICASSO - Peintre Devant Son Chevalet - etching on paper - 12 x 15 1/2 in.

Peintre Devant Son Chevalet

12 x 15 1/2 in.

etching on paper

PABLO PICASSO - Peintre Travaillant - etching on paper - 13 1/2 x 16 1/2 in.

Peintre Travaillant

13 1/2 x 16 1/2 in.

etching on paper

PABLO PICASSO - La Danse des Faunes - lithograph on zinc - 19 x 23 1/2 in.

La Danse des Faunes

19 x 23 1/2 in.

lithograph on zinc

PABLO PICASSO - Portrait de Famille, Six Personnages - lithograph - 18 1/4 x 25 3/4 in.

Portrait de Famille, Six Personnages

18 1/4 x 25 3/4 in.

PABLO PICASSO - Raphaël et la Fornarina XIII: Dans son fauteuil, le Pape en tire la langue, pl.308 - etching on Rives BFK - 5 3/4 x 8 1/4 in.

Raphaël et la Fornarina XIII: Dans son fauteuil, le Pape en tire la langue, pl.308

5 3/4 x 8 1/4 in.

etching on Rives BFK

PABLO PICASSO - After Cranach Poster for Exhibition at Berggruen, Paris - lithograph in colors on paper - 29 1/2 x 20 1/4 in.

After Cranach Poster for Exhibition at Berggruen, Paris

29 1/2 x 20 1/4 in.

lithograph in colors on paper

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